Tag Archives: Leigh Brackett

Is Our Writers Learning? The Coming of the Terrans

Leigh Brackett’s THE COMING OF THE TERRANS collects five of her Martian stories written from 1948 (Beast Jewel of Mars) to the early 1960s (The Road to Sinharat and the luridly titled Purple Priestess of the Mad Moon). They suit my love of pulp perfectly, and I think there’s enough of interest to make them worth a blog post of its own (obviously)

The stories are set on Brackett’s decadent, dying Mars, starting in 1998 with Beast Jewel (the story doesn’t include a date so I’m guessing either Brackett or the editor assigned dates for the book). Said jewel is part of the ritual of Shanga, which a Martian cult uses to regress humans, allowing them the chance to slip the bonds of civilized behavior and act out their fantasies of sex or violence without inhibition. Burk’s lover became addicted to Shanga and vanished into the cult; Burk now follows her. This has its risks because he’s experienced the addiction himself. And after a certain point, Shanga followers begin to devolve into their ancestral forms. The Martians, an ancient race who despise their human occupiers, take great joy in this.

The final story, set 40 years later, is Road to Sinharat. While the title lost city is certainly a great pulp invention, the story itself seems more in tune with the mood of the late 1950s and early 1960s, when colonies were declaring independence right and left. Earth is determined to take over Mars’ slim water resources for the Martians’ own good, bringing the best of Earth’s technology to bear. As the protagonist struggles to prove, this has happened before, and it didn’t work well.

Brackett’s Mars is a good example of how to borrow from another writer without ripping them off. Her Mars is clearly shaped by Edgar Rice Burroughs’ planetary adventures, which Brackett freely acknowledged. Like Burroughs’ Barsoom, Brackett’s Mars is a once great world, now dried up and dying. But ERB’s Martians were stoic, proud, passionate warriors. While Brackett’s Martian barbarians fit that mold, city dwellers are corrupt, decadent, frequently malicious but in small petty ways (rather than duel, they’d knife you in the back). Coupled with Brackett’s lusher style of writing (she’s definitely the better wordsmith)it feels very different.

The stories also show that amazing worldbuilding isn’t necessarily necessary for a good story (I include the modifier because I know a lot of readers value detailed worldbuilding more than I do). Brackett’s Mars isn’t all that alien; the stories of sinister cults, lost cities and ancient super-science aren’t that different from the stories other pulp writers told about the Third World. Mars could almost be Egypt under British imperial control: we have the sinister ancient cults, the angry resentment of the natives, the decadence, the secret ancient wisdom — standard pulp portrayals of far-off lands. But that doesn’t bother me much (YMMV of course); the stories are still good, and Brackett doesn’t make it feel as if it’s “just” the colonized Middle East (the dead seas, the dwindling canals, they all give it an alien feel).

But I think that also shows why so many people do find specfic from the olden days so distasteful. Mars isn’t the British Empire but the tropes are there; I know some people who don’t like them used for the Third World don’t feel they’re improved by giving other planets the same treatment. The hero of Sinharat is a “white savior” doing for the natives what they can’t do for themselves. I still like the stories, but I can understand if someone else took issue with them. But for me, the charms outweigh the flaws.

#SFWApro. Cover art is uncredited, all rights remain with current holder.

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A black amazon, black Frankenstein and a light-skinned black guy: books

As far as I know, Leigh Brackett’s only series hero was Eric John Stark, raised as a feral child in the twilight zone of Mercury before adventuring across Mars. In BLACK AMAZON OF MARS, Stark honors a dying friend’s request to return an ancient talisman to a polar Martian city. Too bad that pins Stark between a barbarian warlord starting the march to conquest there (the title and cover spoil the reveal about who’s really behind “his” iron mask) and the sinister ice creatures lurking under the polar cap. The small press edition I have also includes the forgettable “A World Is Born” and the entertaining “Child of the Sun.”

VICTOR LAVALLE’S DESTROYER (by Lavalle, Dietrich Smith and Joana LaFuente) has one good plot thread (a female scientist resurrects her son, gunned down unjustly by cops) and several that were much less interesting, including a covert government agency and the original Creature on a rampage. The uninteresting outweighed the good stuff for me.

INCOGNEGRO: Renaissance by Matt Johnson and Warren Pleece is a prequel to Incognegro in which light-skinned Zane is a cub reporter during the Harlem Renaissance. When a black writer drowns in a bathtub at a mixed-race party, the police wash their hands of it; Zane reluctantly uses his light skin to pass as white and investigate in ways nobody else could. Really good.

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Mars Needs … Ghosts? Books read

While it’s not an actual goal, I do plan on rereading a lot of old favorites this year, including SF author Leigh Brackett. THE SWORD OF RHIANNON is set on Brackett’s version of Mars, an Edgar Rice Burroughs-influenced dying world where treacherous, corrupt cities sit on the edges of dried-up seas. Carse is an Earther who’s made a name for himself as a criminal on Mars; when he tries to loot the tomb of Rhiannon, the ancient Martian lord of evil, Carse somehow winds up back in the past, when Mars was still a fertile world. He finds himself enslaved, then leading the fight against the tyrants of Sark, but it turns out Rhiannon isn’t done with him …

This combines elements of Burroughs with A. Merritt’s Dwellers in the Mirage, resulting in a book that’s familiar (it’s far from Brackett’s most original work) but pleasantly entertaining (if you’re into old-style pulp adventure, which I am). However her use of Celtic names such as Rhiannon (and other knock-off names such as “Barrakesh”) is very jarring, though maybe the original audience wouldn’t have picked up on that. It’s also very reminiscent of themes in her later Skaith novels (dying world, genetically engineered races adapted to different environments) though that’s not a flaw, just something I didn’t pick up on during my first reading.

GHOSTS KNOW by the great horror writer Ramsey Campbell was a real disappointment. Given the title, I understandably assumed this would be a ghost story; instead it’s a tale about a talk-radio host who tries to boost ratings by challenging a fake psychic. This leads to the host getting framed as the kidnapper in a case the psychic is investigating, so the end result is a Hitchcock-style story of an innocent man struggling to clear his name. Unfortunately the protagonist is too much of a sulky jerk for his plight to engage me and the lack of a supernatural element was a disappointment.

The fourth and final volume of Ed Brubaker and Sean Phillips’ KILL OR BE KILLED (I’ve previously read Vol. 1 and 2) has vigilante protagonist Dylan stuck in a mental hospital after assaulting one of his friends. When he tries to tell the doctor what he’s been doing, they point out the vigilante killings are still going on; he insists it’s a copycat, they insist he’s delusional. Meanwhile, the Russian Mafia is still tracking him down for his attacks on them. Focusing so much on Dylan’s internal struggles was a mistake because as I complained before, he’s the weakest part of the series, a stereotypical millennial whining about living a shitty life in a shitty world he never made. A bigger problem is that the ending twist, while not Kingdom of the Wicked awful, is pretty bad. I’m glad I used the library instead of putting money down on this.

MARVEL MASTERWORKS: Sub-Mariner is a Silver Age collection primarily by Stan Lee and Gene Colan (the Adam Austin of some issues is Colan under a pseudonym). This opens with a Daredevil story in which Namor goes to court, only to back out when treacherous warlord Krang tries taking over Atlantis to wage war on the surface world; to prove his right to the throne Namor, in his own series, must seek out the trident of Neptune in an adventure that resembles the Aquaman movie’s plot.

Colan’s art is awesome but the writing is second-rate Lee. Krang is an uninspired villain who does everything but twirl his mustache and Dorma, Namor’s love, is just a train wreck, never displaying any agency except when it makes things worse for Namor. And because Subby is alone so much, we get way too much of his bombastic, high-flown speech pattern without any normal people to balance it out. Lee and Colan still infuse this with enough drama to make it entertaining, but it’s not A-list.

#SFWApro. All rights to images (I don’t know the first artist; second cover is Colan’s) remain with current holder.

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